The work, made of oil and sand, is reminiscent of a ramshackle wall, as marked by notches, scratches, abrasions and other traces. The v or triangular shape appears on it several times: in the upper part of the painting, a series of small arrows is arranged vertically on a relief-like elevation, which ends in a downward triangle and thus doubles the v motif. This is mirrored at the lower edge of the work, where an A becomes visible that refers to Tàpies's initial letter. Whether these are ultimately signs, letters or forms, however, remains uncertain and lies in the eye of the beholder. This superimposition or openness in interpretation is typical of Tàpies's approach and underlines the evocative character of the work, which stands out through contrasts between red and grey tones and the different surface structures.
Tàpies became known for his wall paintings in the 1950s. In his works, he reflected the zeitgeist of the dispensable post-war years – similar to Brassaï in his graffiti photographs or Dubuffet in his material paintings. Tàpies visited Paris for the first time in 1950 and dealt with the prevailing art trends there. He repeatedly employed poor materials such as sand or earth, which were also used in Arte povera. Tàpies was by no means concerned with a formal exploration of the material, but rather with a language that was able to express his feelings and state of mind in the best possible way. The motif of the wall itself has various meanings: as a place of protection and multiple inscriptions, as a barrier, a seismograph of time and bearer of signs. It seems all the more fitting that the name Tàpies is coincidentally derived from the Catalan word for wall.
